Modal Progressions
consist of chords created exclusively from one mode.
Like any chord progression,
the chord sequences must produce resolution to the I chord of the key.
In order to characterize the particular mode,
the predominant secondary chords must contain the
unique notes of the mode.

Unique Notesexamples in key of C

Mode-----
Formula

UniqueNote(s)-----
Scale Degree

Secondary Chord(s)-----
Rom. Num. Analysis

Lydian

1 - 2 - 3 - #4 - 5 - 6 - 7 - 8/1

#4

D7, F#-7b5, Bm7-----
II7, #IV-7b5, VIIm7

Ionian

1 - 2 - 3 - 4 - 5 - 6 - 7 - 8/1

4, 7

Dm7, Fmaj7, G7-----
IIm7, IVmaj7, V7

Mixolydian

1 - 2 - 3 - 4 - 5 - 6 - b7 - 8/1

b7

Bbmaj7, Gm7-----
bVIImaj7, Vm7

Dorian

1 - 2 - b3 - 4 - 5 - 6 - b7 - 8/1

6

Dm7, F7-----
IIm7, IV7

Aeolian

1 - 2 - b3 - 4 - 5 - b6 - b7 - 8/1

2, b6

Bb7, Gm7, Abmaj7, Fm7-----
bVII7, Vm7, bVImaj7, IVm7

Phrygian

1 - b2 - b3 - 4 - 5 - b6 - b7 - 8/1

b2

Dbmaj7-----
bIImaj7

Locrian

1 - b2 - b3 - 4 - b5 - b6 - b7 - 8/1

b5

Gbmaj7-----
bVmaj7

Modal harmony is exclusive,
meaning only scale tones are used to construct the chords of the harmonic progressions.
Excepting the Ionian mode, which produces harmony equivalent to
diatonic harmony,
modal progressions lack a primary dominant chord.
This lack of
cycle of fifths
dominant-to-tonic resolution increases the risk of
harmonic drift,
which occurs when a series of chords produces resolution to the tonic of the
parent scale instead of the mode's I chord.
This means most modal progressions use two or three chords in a repeating vamp,
using repetition to reinforce the tonal center.

Modal Chord Groups

Mode

Main Chords

Example in Key of C

Ionian

I, IIm7, V7
I, IV, V7

C, Dm7, G7
C, F, G7

Mixolydian

I, bVII

C, Bb

Dorian

Im7, IIm7
Im7, IV7

Cm7, Dm7
Cm7, F7

Aeolian

Im7, IVm7, Vm7
Im7, bVII, bVI

Cm7, Fm7, Gm7
Cm7, Bb, Ab

Phryian

Im7, bIImaj7

Cm7, Dbmaj7

The addition of less modally-defined chords occurs,
often with less frequency or duration.
The IV chord is often added to a
Mixolydian progression,
and the bIII chord is added to
Phrygian progressions.
These chords do not define the mode,
but introduce some additional harmonic motion.

Lydian and Locrian do not produce harmonic progression,
as the I chords in these modes don't produce a feeling of resolution
using secondary chords containing unique notes from the mode.